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Caracol is one of the first examples of fusion between Brazilian percussive music and electronics. Synthesizers, samplers and sequencers were still a novelty in Brazil in the 1980s, but João de Bruçó and R.H. Jackson created an avant-garde masterpiece.
Using popular references and an eagerness to escape any retro / stylistic cliché that came to haunt Brazilian youth music at that time, they plunged into an audacious, intuitive and improbable sound journey in Caracol.
This rare adventure of Brazilian music was released independently in 1989, financed by the artists themselves. The original small pressing sold-out, belonging now to record collectors around the planet. For the first time Caracol is re-released on vinyl, with two extra tracks found after decades!
Remastered from the original tapes, this reissue includes a reproduction of the original graphic art, new testimonies from João de Bruçó and RH Jackson and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
Back in stock ! João Gilberto’s 1970 En México captures the bossa nova legend in exile, blending Brazilian classics, boleros, and standards with his signature whisper-soft vocals and minimalist guitar. Recorded during his stay in Mexico City, the album features gems like “Bésame Mucho” and “Ela é Carioca,” offering a delicate, cross-cultural set that highlights Gilberto’s timeless, introspective style.
Brazilian singer, poet, guitarist Joao Gilberto made his 1959 debut with the now legendary LP, ‘Chega de Saudade’, a new sound and acknowledge as the first bossa nova album, a genre that swept the world in popularity and taken up by such artists as Stan Getz, Charly Byrd, Astrud Gilberto, Frank Sinatra, Quincy Jones, and countless others. Presented here is essentially a themed compilation of some of his best songs, including tracks from his acclaimed debut LP, ‘Chega de Saudade’.
Baroque Sunburst is proud to present "Meliponica", the unique and unheard music of the interdisciplinary Brazilian artist João Machado, entirely created by electronically processing the recordings of stingless bees. Machado's work with field recordings of native bees form a sound library held in international collections such as the British Library and the Animal Sound Archive in Berlin, and his research into stingless bee communication has unfolded into experimental electronic music, finally finding its way on vinyl for the first time. Within its 40 minutes of never-stopping music, "Meliponica" reveals its unique sonic universe, flawlessly moving from complex percussive rhythms to melodies and soundscapes that seem to come as much from earth as from outer space. With an impressive ability to explore the potential of its original audio sources while pushing it to the limits, João Machado's idea of music never loses musicality and groove, even in its more intimate moments.
"Recorded in Los Angeles over the course of a single day at a studio in the Eagle Rock neighborhood, Dois Desertos was produced by Mario Caldato Jr. and emerged without a predetermined plan or schedule. The project took shape during Portuguese musician João Pimenta Gomes' stay in Los Angeles with his family. During that time, through Rodrigo Amarante, João met Mario and Samantha Caldato, as well as musicians Abe Rounds (drums and percussion) and Gabe Noel (bass and cello). From those encounters, the album began to unfold organically. Working from simple scores—some containing little more than chord progressions—the sessions left plenty of room for improvisation. Every performance was captured live, in a single take, with no overdubs. The mixing process, also carried out live by Mario Caldato Jr., followed the same philosophy: effects and level adjustments were performed in real time and printed directly to the final two-track master. At the heart of the album's sound is the Cristal Baschet, a rare instrument played by rubbing glass rods with the hands, causing metal resonators to vibrate and produce an ethereal, resonant tone. João describes its sound as "a trace, almost like a shadow." Rather than taking the lead, the instrument serves as a textural foundation, while the bass and cello carry the melodic lines. Some of these melodies are original compositions, while others draw from traditional Portuguese fado, reimagined through an open and exploratory approach. The album has a dreamlike atmosphere, reflecting the perspective of someone experiencing Los Angeles from the outside—not in a rush to belong, but fully receptive to the city's unique energy. Two films helped shape this imaginary landscape: Model Shop (Jacques Demy, 1969), in which the French filmmaker uses Los Angeles as a pretext to simply observe and inhabit the city, and Thom Andersen's Los Angeles Plays Itself. The result is Dois Desertos, an album that, in João's own words, "could never have been made anywhere else." With Dois Desertos, João Pimenta Gomes invites listeners into a deeply immersive experience, revealing a more exploratory side of his artistic practice while reinforcing Amor in Sound's commitment to releasing original works that engage with the many languages of contemporary music."
I first heard about this incredible record from my friend and renowned collector Ian Wright back in the mid-2000s. Ian may well have been the first to feature it on a mixtape around that time. He originally found his copy on eBay without a sound clip calling the seller to listen over the phone before taking a chance on it. A true San Diego masterpiece, now highly sought after within the Modern Soul scene. Beyond that dedicated circle, it has remained largely unknown, due to its insane rarity. Although Glen is sadly no longer with us, his legacy lives on through this stunning piece of music, which will finally get the attention it deserves on dancefloors all over the world. Special thanks to the ever-dapper James Pogson for his invaluable help with securing the licence x
‘Sorrow’ is the third in the ‘Aquarii In Dub’ series from musician and producer Joe Armon-Jones, written and produced by Joe in his own studio and released on his own label Aquarii Records.
As well as Liam Bailey and James Mollison, Sorrow features Morgan Simpson on drums, bassist Luke Wynter, and Mark Mollison on guitar.
Produced and mixed by Joe Armon-Jones, mastered by Noah Priddle.
Terrific session just released in 1974 on influential independent Muse. A modal masterpiece verging on spiritual jazz with a series of excellent players: from Richard Davis and Cecil McBee on bass to Ray Mantilla on congas and percussion, through Harold Vick distinctive flute and tenor sax. The major voice on this record belongs to the traps of Joe Chambers. The enormous potency combined with complete authority and tonal clarity that Chambers brings to the drums has made him one of the more distinctive percussive voices in jazz.
Producer Joe Gibbs took the credit for the four discs released in the mid-'70s under the title African Dub All-Mighty, but the musicians were in reality a shifting aggregation of members of the Soul Syndicate, We the People, and Revolutionaries bands, and the man actually working the mixing board was famed sound engineer Errol Thompson. Chapter 1 is a fine listening experience -- note in particular "Campus Rock" (a dub version of Dennis Brown's "Let Me Live") and "Treasure Dub," which is a version of the Jamaicans' rocksteady classic "Ba Ba Boom." Recommended. - Rick Anderson
The second volume in this vintage four-disc series of instrumental dub from Joe Gibbs' studio finds him still working with members of the Soul Syndicate and We the People bands, and utilizing the formidable mixing talents of Errol Thompson. What sets this volume somewhat apart from the other three is the number of rhythms it carries over from the rocksteady era: "Chapter Two" is a remix of the Techniques' late-'60s classic "Queen Majesty"; "Peeping Tom" reworks the Melodians' "You Have Caught Me"; and "My Best Dub" is an instrumental and nicely dubbed-up recut of the early Wailers track "Hypocrites." But it also includes some heavyweight rockers and one-drop material, including "Angola Crisis" (based on a familiar rhythm later used for such roots reggae hits as "Uptown Top Ranking" and "Three Piece Suit") and an absolutely brilliant dub mix of Bob Andy's "Chained," here rendered in dark, minimalist tones with drastic dubwise effects and retitled "Third World." Along with the third volume, this is one of the most impressive of the four discs in the African Dub series. - Rick Anderson
The third (and most impressive) of four volumes of dub mixes from the studio of producer Joe Gibbs, African Dub, Chapter 3 finds engineer Errol Thompson getting a bit more adventurous than he had on the earlier installments. More of these dub versions keep shreds and snatches of the original vocal tracks in the mix, which is almost always a plus in a dub context -- little snippets of disembodied vocals float through the otherworldly musical atmosphere, lending a sometimes spooky human element to the sound and often casting new and refracted light on the meaning of the original lyrics. And on this volume, Thompson seems to be taking a few cues from his competitor Lee "Scratch" Perry, throwing such extramusical elements as water sounds (on "Freedom Call") and ringing telephones (on "Jubilation Dub") into the mix along with the usual gossamer shreds of guitar, horn, and keyboard. Highly recommended. - Rick Anderson
The fourth and final volume in the African Dub All-Mighty series was originally released in 1979, and like the previous three discs it features rhythm tracks laid down by such famous session men as Sly Dunbar, Robbie Shakespeare, Lloyd Parks, and Franklin "Bubblers" Waul, most of whom were already known as members of the Revolutionaries and the We the People band, but who recorded at Joe Gibbs' studio as the Professionals. Errol Thompson ran the board for all four collections of dub mixes, and offers an interesting and adventurous approach. Some of these mixes are two or three times removed from the vocal tracks that were originally released -- "Iron Gate," for example, is a dub mix of a recut (by Althea & Donna) of the Heptones' proto-slack rocksteady classic "Fattie Fattie"; "Fashion One" is a remix of Dennis Brown's remake of Alton Ellis' 1960s classic "Girl I've Got a Date." Everything here is worth a listen, recommended overall. - Rick Anderson
Joe Gibbs' 1979 album Majestic Dub stands as a unique and innovative take on the sound of Dub. The album opens with "Ten Commandments," an energetic track featuring prominent use of synthesizers, blending early techno influences with dub rhythms. This departure from the typical sound showcases Gibbs' ambition to modernize reggae without overusing electronic elements. The title track, "Majestic Dub," highlights the rhythmic prowess of the legendary Sly and Robbie, grounding the music with a strong reggae foundation while also experimenting with electronic drums, further pushing the sonic boundaries. As the album progresses, tracks like "Social Justice" and "Kings of Dub" continue to explore new textures. "Social Justice" introduces a synthesizer subtly woven into the rhythm, enhancing the track's depth and layering. In contrast, "Kings of Dub" feels lighter and more traditionally reggae, its smooth rhythms and precise production feel more grounded. These tracks exemplify Gibbs' ability to balance innovation with respect for reggae’s roots, allowing a variety of influences and styles to shine through without overwhelming the core dub essence. The album concludes with powerful tracks like "Edward the Eighth" and "Embargo," which return to more orthodox dub sounds while incorporating dynamic effects such as echo and delay. These final songs capture the essence of Majestic Dub, where traditional reggae rhythms meet modern production techniques. Gibbs' collaboration with top-tier musicians, including Sly Dunbar, Robbie Shakespeare, and Tommy McCook, adds further depth to an already rich soundscape. Altogether, Majestic Dub serves as a bold, forward-thinking album that not only honors the roots of dub but also pushes it into exciting new territory.
Joe Gibbs reggae dub series "African Dub Chapter". this chapter 5 was originally released in 1984.
Joe Henderson, who had made a name for himself with his Blue Note albums, was based at Milestone from the late 1960s onward, releasing a series of albums that pushed blackness to the forefront. In the summer of 1971, Joe Henderson visited Japan by himself and delighted Japanese audiences. One of the climaxes of his visit was a five-day concert series at Junk in Ginza, Tokyo. Henderson's Habiliment” is a record of that night. The powerful, emotionally rich, and lustrous playing is a masterpiece. The Japanese musicians who performed with him, Hideo Ichikawa, Kunimitsu Inaba, and Motohiko Hino, also showed their sharpness. Starting with “Junk Blues,” which even has a terrible taste, followed by the blaring “'Round About Midnight,” the deeper “Blue Bossa,” and the hip and beautiful “Black Narcissus,” which was not included on the American version of “In Japan,” the performance was so rich and full that it tore at the seams.
Miyazake collaborator Joe Hisaishi's accompaniment to 1993 crime thriller 'Sonatine' is another lovingly repackaged oddity from the WRWTFWW stable; one of Hisaishi's personal favorites, it's an eccentric, vividly colored mash-up of global percussion, Tangerine Dream-style cosmic minimalism and earworm piano themes.
Hisaishi isn't the first person we'd think of if we were directing a gangster film, but we're not Takeshi Kitano. The award-winning pianist and composer has penned over 100 scores, and is best known for his work with Hayao Miyazaki, having worked on all but one of his films, but he also nurtured a close relationship with Kitano, scoring 'Kids Return', 'Hana-bi' and 'Dolls', among others. 'Sonatine' is one of Kitano's most acclaimed films, and follows an aging yakuza (played by Kitano) who expressionlessly contemplates his decisions as his time ticks away. Somehow, Hisaishi takes this prompt as an opportunity to work in technicolor, juxtaposing his expectedly jaunty motifs with plasticky fanfares, Midori Takada-style marimba sequences, hand drum workouts and wyrd library psych detours.
We don't fully remember how the soundtrack meshed with the visuals (it's been a while), but as a stand-alone, Hisaishi's bizarre suite of cues works remarkably well. 'Sonatine' arrived over a decade after 'MKWAJU', his outstanding African-inspired collaboration with Takada, and his new age/kosmische-slanted solo album 'Information', and there are traces of each to be found here. Centerpiece track 'Into A Trance' might lack the Prophet 5-powered bite of 'Information', but its Reich-to-YMO electroid minimalism echoes the themes, and 'Eye Witness', a wonky ethno-scrunch of sitar drones, hollow reversed percussive thumps, shamisen plucks and sampled vocal stings is a tongue-in-cheek extension of Hisaishi and Takada's high-minded concepts.
Elsewhere, Hisaishi tries his hand at tabla-tinted Hammond psych on 'Mobius Band', and deploys a Miyazake-ready solo piano heart-melter with 'Light and Darkness'.
Miyazake collaborator Joe Hisaishi's accompaniment to 1993 crime thriller 'Sonatine' is another lovingly repackaged oddity from the WRWTFWW stable; one of Hisaishi's personal favorites, it's an eccentric, vividly colored mash-up of global percussion, Tangerine Dream-style cosmic minimalism and earworm piano themes.
Hisaishi isn't the first person we'd think of if we were directing a gangster film, but we're not Takeshi Kitano. The award-winning pianist and composer has penned over 100 scores, and is best known for his work with Hayao Miyazaki, having worked on all but one of his films, but he also nurtured a close relationship with Kitano, scoring 'Kids Return', 'Hana-bi' and 'Dolls', among others. 'Sonatine' is one of Kitano's most acclaimed films, and follows an aging yakuza (played by Kitano) who expressionlessly contemplates his decisions as his time ticks away. Somehow, Hisaishi takes this prompt as an opportunity to work in technicolor, juxtaposing his expectedly jaunty motifs with plasticky fanfares, Midori Takada-style marimba sequences, hand drum workouts and wyrd library psych detours.
We don't fully remember how the soundtrack meshed with the visuals (it's been a while), but as a stand-alone, Hisaishi's bizarre suite of cues works remarkably well. 'Sonatine' arrived over a decade after 'MKWAJU', his outstanding African-inspired collaboration with Takada, and his new age/kosmische-slanted solo album 'Information', and there are traces of each to be found here. Centerpiece track 'Into A Trance' might lack the Prophet 5-powered bite of 'Information', but its Reich-to-YMO electroid minimalism echoes the themes, and 'Eye Witness', a wonky ethno-scrunch of sitar drones, hollow reversed percussive thumps, shamisen plucks and sampled vocal stings is a tongue-in-cheek extension of Hisaishi and Takada's high-minded concepts.
Elsewhere, Hisaishi tries his hand at tabla-tinted Hammond psych on 'Mobius Band', and deploys a Miyazake-ready solo piano heart-melter with 'Light and Darkness'.
Absolute K.O. bout of free jazz poetry by a spry, 85 year old Joe McPhee, adapting his renowned improvised practice to words - juxtaposed with Mats Gustafson’s sparing brass and electric gestures. It’s an utterly timeless and transfixing salvo, another shiny notch for Smalltown Supersound’s brilliant Le Jazz Non Series.
*300 copies limited edition* As a common ligature to the OG free jazz scene of ‘60s NYC, with formative binds to its European offshoots and the experimental avant garde, Joe McPhee is a true force of nature who has represented jazz at its freest over a remarkable lifetime. In duo with Swedish free jazz and noise standard bearer Mats Gustafson, he upends expectations with an astonishingly vivid and upfront example of his enduring contribution to freely improvised music. In 11 parts he variously reflects on everything from the neon sleaze and scuzz of NYC to contemporary US politicians and laugh out loud imitations of his previous sparring partners such as Peter Brötzmann, with a head-slapping immediacy that leaves you reeling, spellbound.
McPhee’s flow of rare, organic cadence, ranging from urgent to contemplative and dreamlike, is blessed with a unique turn-of-phrase that surely mirrors his decades of instrumental work. Gustafsson, meanwhile, dextrously takes up the mantle with a multi-instrumental spectrum of sounds, leaving McPhee unbound and able to float and sting on the mic. There’s obvious wisdom in his perceptively penetrative observations, as derived from a rich cultural life well spent, but also a playful naivety and levity in his ability to veer from almost melodic speech to explosive aggression and a knowing, bathetic wit. It’s perhaps hard to believe that McPhee only started incorporating and performing spoken word in his work in the past ten years, a half century since his declaration of “What Time Is It‽” announced his arrival on a legendary debut ‘Nation Time’ (1971), ushering in one of free jazz’s most singular characters in the process.